Concert sound reinforcement equipment is better than ever, yet we’re frequently burdened with a mess of auditory goo that just sucks the enjoyment from a live event.

I know a place here in Tucson that should really pay attention to Bobby O.’s words of wisdom. I’ve walked out of high-priced shows because the sound wasn’t just awful, it was painful.

This article is not an advert for easy-to-use plug-ins or indeed a polemic against complex software. Neither am I arguing that a professional studio is better than a home studio, both have their merits.

A thoughtful look at DIY vs. bespoke. I know where the “real” studios are. I plan to use them. But I do love working at my desk at home.

Record production is a team sport. From writers to producers to artist to engineers to managers and A&Rs, the goal is to create a song, cement it in time, and get it out to listeners. So where does the engineer fit into this picture? What exactly is our role, what are our boundaries and what are our expectations?

De facto producer when one is not present. Yes, that would be a really good starting point.